Comparison of Rifaximin and Lactulose for the Treatment of Hepatic Encephalopathy: A Prospective Randomized Study

Rifaximin has been reported to be effective for the treatment of hepatic encephalopathy (HE) in Europe. However, it is unknown whether Rifaximin is effective for the treatment of HE in Koreans, therefore we conducted a open-label prospective randomized study to evaluate the efficacy of rifaximin versus lactulose in Korean patients. Fifty-four patients with liver cirrhosis and hepatic encephalopathy were enrolled. Thirty-two patients were randomized to receive rifaximin and 22 to receive lactulose both over a 7-day periods. Before and at the end of treatment, gradation of blood ammonia, flapping tremor, mental status, number connection test (NCT) were performed and estimation of HE indexes determined. Both rifaximin and lactulose were effective in the majority of patients (84.4% and 95.4%, respectively, p=0.315). Blood NH3, flapping tremor, mental status, and NCT was significantly improved by rifaximin and lactulose, and the posttreatment levels of these measures were similar for the rifaximin and lactulose-treated groups, as was the HE index (rifaximin group (10.0→4.2, p=0.000); lactulose group (11.3→5.0, p=0.000)). One patient treated with rifaximin complained of abdominal pain, which was easily controlled. There was no episode of renal function impairment in either treatment group. Rifaximin proved to be as safe and as effective as lactulose for the treatment of Korean patients with hepatic encephalopathy

Cuestiones epistemológicas y estudios de caso

En un país -Francia- donde el campo del teatro está estructurado culturalmente durante décadas, el Teatro Aplicado es una noción que a menudo aparece como ancillar, frente a un arte institucionali-zado, incluso mirificado. Por un lado, estaría el Teatro, puro, noble, auténtico y por otro, estarían sus avatares: el teatro de empresa, el teatro para el desarrollo personal, el teatro para patologías, etc. Si tienen la misma fuente, su consanguinidad no deja de asustar. ¿cómo pueden unos artistas que crean alejados de cualquier coacción exterior pertenecer a la misma familia del teatro que unos actores o directores que "obedecen" a un encargo, en un contexto específico, con un público muchas veces participantes de talleres ... y que son por tanto prisioneros, en cierto modo, de un arte instru-mental izado? A este problema ético, este libro intenta responder, a través de ejemplos concretos, para una mayor comprensión inrerculrural Francia/ Colombia.In a country -France- where the field of theater has been culturally structured for decades, Applied Theater is a notion that often appears as an ancillary, in the face of an institutionalized, even mirified, art. On the one hand, there would be the Theater, pure, noble, authentic and on the other, there would be its ups and downs: company theater, theater for personal development, theater for pathologies, etc. If they have the same source, their consanguinity does not stop frightening. How can some artists who create far from any external coercion belong to the same theater family as some actors or directors who "obey" a commission, in a specific context, with an audience that is often workshop participants... are they therefore prisoners, in a certain way, of an instrumented art? To this ethical problem, this book tries to respond, through concrete examples, for a greater intercultural understanding France/ Colombia.Bogot

The impact of religious faith on attitudes to environmental issues and Carbon Capture and Storage (CCS) technologies: A mixed methods study

An exploratory mixed methods study was conducted to investigate potential differences in the pro-environmental values and beliefs of people from the UK Christian, Muslim and secular (non-religious) communities. The study explored how religion might shape perspectives on themes within the New Ecological Paradigm (NEP) scale, including the relationship between humans and the environment (Dunlap, Kent, Mertig, & Jones, 2000). This study also explored how religious beliefs and values might influence perspectives on: (a) climate change; and (b) the acceptability of Carbon Capture and Storage (CCS) technologies. Muslim and Christian participants' opinions about climate change and CCS technologies were shaped by the importance of environmental stewardship and intergenerational justice. Both groups had relatively low perceptions of urgency for environmental issues, particularly climate change, due to beliefs in an afterlife and divine intervention. Acceptance of CCS for Muslim participants was considered problematic due to teachings on stewardship, harmony values and the intrinsic value of nature. CCS was considered less problematic for Christian participants, who demonstrated anthropocentric values and evaluated environmental issues and technological solutions in relation to the extent to which they supported human welfare. Secular participants expressed anxiety in relation to environmental issues, especially climate change. Lack of belief in an afterlife or divine intervention led secular participants to focus on human responsibility and the need for action, bolstering the perceived necessity of a range of technologies including CCS

Semis direct sous couvert végétal: Définition

National audienceDirect seeding under cover crop is an agricultural technique whereby a crop is sown directly in a vegetation cover without having previously tilled the soil. There are two types: 1) the case where the cover is destroyed (mechanically, naturally, by frost for instance, and as a last resort chemically) before, during or soon after the sowing, and whose biomass is kept on the soil surface, and 2) the case where the cover is kept alive and in this case it is called direct seeding under permanent living plant cover. In both cases, the farmer uses a special “direct” seed drill equipped with disks with or without tines, which are capable of positioning the seed in contact with the soil by cutting or pushing the vegetation aside (then repositioned by a closing device)....Il s’agit d’une technique agricole qui consiste à implanter une culture directement dans un couvert végétal sans avoir préalablement travaillé le sol. On en distingue deux types : 1) le cas où le couvert est détruit (mécaniquement, naturellement et en dernier recours chimiquement) et dont la biomasse est conservée à la surface du sol et 2) le cas où le couvert est conservé vivant et dans ce cas on parle de semis-direct sous couvert végétal vivant. Dans les deux cas, l’agriculteur utilise un semoir particulier dit « direct » équipé de disques ou de dents capables de positionner la graine au contact du sol en découpant la végétation...

La "Congreturgie" : penser le congrès comme une scène - l'exemple d'EUROPCR 2016

International audienceComplementando la reflexión anterior sobre la escenografía en el marco del Laboratorio Conjunto RIMEC, este artículo propone las primicias de una dramaturgia del congreso, a partir del evento de EuroPCR de la empresa Europa. Desde el punto de vista macro, el congreso se presenta como una escenificación de la transmisión del saber y de la comunidad profesional de la cardiología intervencional, articulada con los contenidos y objetivos de cada sesión (nivel micro). Se trata pues de analizar una verdadera escritura, una meta-conducta que deja sitio a los directores de escena (organizadores), a los actores (los conferencistas), a los espectadores (los participantes). Estos últimos desempeñan en la dramaturgia del congreso un papel fundamental, decidiendo del desarrollo de su propia " obra " e individualizando su recorrido de formación.Prolongeant la réflexion antérieure sur la scénographie dans le cadre du Laboratoire Commun RiMeC, le présent article jette les premières pistes d'une congréturgie, à partir de l'événement phare EuroPCR de l'entreprise Europa. A un niveau macro, le congrès se présente comme une mise en scène de la transmission du savoir et de la communauté professionnelle de la cardiologie interventionnelle, articulée aux contenus et aux objectifs de chaque session (niveau micro). Il s'agit donc d'analyser une véritable écriture, une meta-conduite, qui doit laisser toute sa place aux metteurs en scène (organisateurs), aux acteurs (les intervenants) et aux spectateurs (les participants). Ces derniers ont dans la congrèturgie un rôle fondamental car ce sont eux qui décident du déroulé de leur propre « pièce », en individualisant leur parcours de formation